Digital Art Masters: Vol 4

ATMA Classique, the ArtChoral Ensemble and Mécénat Musica are proud to present Art Choral, Vol. 4: Classical with the ArtChoral Ensemble under the direction of Matthias Maute.

ATMA Classique, Ensemble ArtChoral and M?c?nat Musica are proud to present Art choral, Vol. 3: Baroque II with Ensemble ArtChoral under the direction of Matthias Maute.

ATMA Classique, Ensemble ArtChoral and Mécénat Musica are proud to present Art choral, vol. 2 : Baroque I with Ensemble ArtChoral under the direction of Matthias Maute.

ATMA Classique is proud to collaborate with Ensemble vocal Arts:Quebec and Mecenat Musica on ART CHORAL, a unique and ambitious project surveying the history of choral singing over six centuries, from the Renaissance to the present day. Consisting of 11 volumes, the series will roll out over the next three years and will feature works by 50 composers from the 16th to the 21st centuries, as well as 11 webcast concerts and 120 videos.

ATMA Classique, Ensemble ArtChoral and Mécénat Musica are proud to present Art choral, Vol. 5: Romantique with Ensemble ArtChoral under the direction of Matthias Maute.

The fourth in the Switched On series that compiles non-album tracks and sought after deep cuts by the groop. Following on from the first volume released in 1992, 1995's Refried Ectoplasm, and 1998's Aluminum Tunes, the long-awaited fourth installment spans 1999 - 2008 in the Stereolab story and collates 3 LPs worth of material, all remastered from the original tapes and overseen by the band. It features all the tracks from out-of-print and sought after mini-album The First Of The Microbe Hunters, one-off and impossible to find tour 7"s, compilation tracks, art installation work and a couple of unreleased outtakes from the Mars Audiac Quintet and Dots and Loops recording sessions.

This is the fourth volume of Louis Lortie's highly-successful series devoted to Chopin. The recording perfectly illustrates how Chopin elevated the waltz to a genre of musical art, from danses de salon evocative of a genial milieu to 'works' with proper opus numbers. Growing up in the 1820s, the composer at first viewed the waltz purely pragmatically, as a means to a social end in the dance salon. But after spending time in Vienna and Paris in the 1830s he decided that a waltz might be worthy of the deeper appreciation accorded a 'work'.

For the fourth instalment in her acclaimed Satie cycle, Noriko Ogawa has gathered music written for the stage – from the pantomime Jack in the Box (1899) to the ballet Relâche (1924) – one of Satie’s last works. Several of the pieces exist in different scorings, but the piano versions heard here are all Satie’s own.

"When I listen to these records now… when I listen to the Pershing, it's phenomenal, I must say. What they were doing, phenomenal, the lines and the purity. It's so pure … It was sheer joy working with these two individuals. Master musicians," writes pianist/bandleader Ahmad Jamal in the liner notes to this collection. If there ever was a subject worthy of a Mosaic box set, Jamal is it. For six decades, he has been, for several reasons, one of the most enduring and identifiable artists in jazz, or, as he prefers to describe it, "American classic music." First, there is his sound: a breathtaking amalgam of Erroll Garner's pithy touch, Nat "King" Cole's intricate horn-like, pre-bop lines, and Art Tatum's Mephistophelean technique.